Zak Dimitrov, 'Branches of a Tree in Winter' zine and photobook

We have two brand new items in the Photograd shop. A riso print, one colour zine and a hardcover, velvet bound photobook with free print, both by 2019 MA graduate Zak Dimitrov.


University: MA Photographic Arts – University of Westminster 2019. BA (Hons) Photography – Arts University Bournemouth 2015

Website: www.zakdimitrov.com

Photography is a medium of love and loss. As Carol Mavor suggests, the photograph is an amorous catastrophe, severed from time, yet loved for holding time, umbilically connected to its referent. A picture of a lover is stolen from the original like a thin layer of skin. Having been on over 100 dates since I moved to London 4 years ago, I decided to reconnect with my former lovers. We spoke about our time together, why things between us unraveled and how life has been since then. A melancholic journey, the project empowered me to finally come out to my parents after a decade of unspoken truths. The work combines portraits of the men I once desired, stills from LGBT films with typewritten quotes from my partner at the time and relics I have saved as mementos. Branches of a Tree in Winter touches upon nostalgia and retrospect, lost love and times forever gone, but it is also hopeful. After all, these men agreed to collaborate, expecting nothing in return.

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TitleBranches of a Tree in Winter

Artist: Zak Dimitrov

Publication date and place: 2019, UK

Format, binding: Softcover, staple binding

Printing: Riso print, one colour

Number of pages and images: 24 pages, 20 images + 1 cover image

£8 + p&p, available to purchase here in the Photograd shop.


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TitleBranches of a Tree in Winter

Artist: Zak Dimitrov

Publication date and place: 2019, UK

Edition: 25

Format, binding: Hardcover concertina, velvet bound. Paper debossed wrapper and a tipped-in print with an envelope and letter on the back inside.

Number of pages and images: 33 pages, 30 images

This book comes with a signed 10x8” print of choice by Zak.

Price on request, but also available through the Photograd shop here.

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Photograd interviews Yves Salmon

To accompany the new edition of PGZ, we have interviewed some photography graduates from the submissions received for the Photograd blog. Here we have an interview with University of Westminster graduate Yves Salmon.


Where did you attend university and what year did you graduate? I graduated from University of Westminster’s Documentary Photography & Photojournalism course in 2017

Image from the series  Moat

Image from the series Moat

Tell us about your time at university. Have you got any stand out moments you can tell us about? It seems such a long time ago now, but as a part-time student my best memories are around having access to some good teachers as well as visiting photographers, curators and designers who shared their knowledge and industry experience with us.

I’ve made some good friends with whom I plan to collaborate with in the future.

The photographic library on the Harrow campus was a big selling point for me. It is a haven but also research across all subject matters was possible because we could borrow from all the different campuses.

Image from the series  Moat

Image from the series Moat

What themes do you explore in your work? On the whole I am interested in journeys that people make, the distance they’ve traveled isn’t the biggest factor. It’s more about their expectations of the place they are going to, what they’ve left behind and the emotional impact of their decision to (sometimes) up root their lives. Testimony is an integral part of my practice so most projects are started with an interview, either oral or in the form of a questionnaire.

Tell us about your series. What inspired you to make work around Brexit? The inspiration for the project came from a conversation with a friend (an EU national) who spoke about his profound shock on 24 June at the result of the referendum. For many people the outcome was felt on a deep personal level. It was a rejection of them as human beings and of the contribution they had made to the UK. Many have been here for decades, raised families and have worked and paid taxes. They felt as though that all counted for nothing.

Image from the series  Moat

Image from the series Moat

How did you find people to photograph? Tell us about your process. I am a born and bred Londoner and I live in the London Borough of Hackney which is one of the most diverse in the city.

The gift of London is that people have journeyed from around the world to be here so there are many local stories to be told. I asked neighbours and friends and I put out a call letting people know that I was looking for people willing to share their thoughts and feelings and be photographed.

For the portraits I rented a space in my local library over a set period and people selected a time within that which suited them. For the interviews I sent them a ten question form which they were free to fill in, however long or short the answers, in their own time.

I knew the end result was not going to be a straight forward Q & A with each image. The responses were not going to be attributed to a specific person.

Image from the series  Moat

Image from the series Moat

What's important about the flowers you've chosen for each image? Each flower is a national flower of the 27 remaining countries in the EU. Some countries share the same flowers so there is repetition but this was dealt with by using different illustrations. They were selected from the collection at the Royal Botanical Gardens in Kew and are all dated between 1837 and 1901 a period which was the height of Empire.

I chose the botanical illustration that I felt was most suited to the composition and the sitter’s expression so this part of the process was intuitive.

Depending on the outcome of Brexit and the future of the UK, where do you see your work taking you in the future? Whether I make landscapes, portraits or still-lifes, I am aware of certain themes that inform my documentary work. Migration and identity and the emotional issues around those themes. I will also continue to incorporate a botanical element into my work, either through the language of botany or using alternative photographic processes.

Image from the series  Moat

Image from the series Moat

Pick one of your images and tell us about the sitter. Despite the viewer being able to see the sitter’s face I have deliberately not identified any one individual. There are approximately 3 million EU nationals living and working in the United Kingdom. The project is about creating a collective voice.

What would you like for viewers to learn from your work? Alongside the portraits there are two books that accompany the images as well as ten anthotypes containing newspaper headlines from UK and foreign press. The books are in the form of ten chapters and these contain the answers to the questionnaire. Interwoven with the answers are ten botanical terms along with their definitions. These are words we also use in the the vernacular, such as stigma, marginal and hybrid.

Image from the series  Moat

Image from the series Moat

This piece of work is layered and everyone will have their own interpretation of the work. Therefore it is not my intention to teach the viewer anything. Perhaps it will encourage people to think about how and why we categorise people and the impact of that categorisation.

Have you got any exciting future plans? Like many people, I have lots of ideas but trying to decide what to pursue next is always difficult. I’ve just had a UV lightbox made so I’m going to finish a project I started last year. Imagery and text are at the forefront of that and it is about work, migration and London.

Also I am collaborating with a fellow MA graduate and we are currently conducting research for a London specific project.

An interview with Photograd Open 2018 exhibiting photographer Claire McIntyre

Photography students at London Metropolitan University supported in the curation of our very first open exhibition and also selected a number of exhibiting photographers to interview about their work.

Here we have an interview with Claire McIntyre.


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What was the inspiration for the project? This was my very first venture into the documentary world. Leaving the fashion universe behind, I realised that the garments are still a focus of mine. After an arduous breakup, I took to Tinder and started meeting a number of London guys. I was spending a lot of my time discovering the city though these dates, and decided to start shooting. Tinder became my agent. Through the app, I photographed around 30 men. Conversation and psychology are dear to me. As I chatted with these men, I came to realise how sensitive and genuine they became, being in the comfort of their own home. The conditioning society created - the “male” behaviour - dropped, revealing a beautiful and sensitive soul and consciousness, so often repressed. This led me to be extremely inquisitive in regards to capturing this state. I made it my project to photograph this modern masculinity, men in their comfort zone, through the female gaze. As a female photographer, having power of representation over the masculine body in todays’ society which is extremely self-conscious in regards to external approval seeking is also a theme I explore.

How has the course at The Ravensbourne University shaped your practice? I don’t feel that the institution played any specific part in shaping who I am as a photographer, nor has it had any effect on my work. The tutors, however, have been key in my personal and artistic development. Due to the self-directed nature of the course, I do feel that I had the time and space to move around with ease through a range of photographic disciplines, thus allowing me to try a variety of topics and subjects, allowing me to explore and deepen my research and skills.

Who is your main photographic inspiration? As stereotypical as this may sound, Nan Goldin has been, from day one, my original inspiration. Someone I look up to as a person, as well as an artist. Her work and subject matter, as well as her over all aesthetic seduce me overtime. The raw and genuine elements composting her shots are beautiful and admirable. Wolfgang Tillmans is another artist I admire, shedding a golden light on the scene of everyday life. His curation style is one of my favourites as well, bringing life to the static world of a photography exhibition. Mark Neville and Stefan Ruiz are equally major influences in my work. I like the interactive aspect they practice, creating a bond with their subjects. Most recently I’ve been quite keen on Campbell Addy’s imagery, exploring topics of identity and representation.

What do you want to achieve and say with your portraits? I’ve touched on this earlier. I wish to address the notion of the social pressure and conditioning men go through. My question here is: “What is Masculinity?”. Is it gender related in any way? How conscious are we of our actions and reactions? How programmed are we in relation to our gender and in regards to our surroundings? This series depicts an alternative image of the viral male, not conforming to external pressures.

Do you have a favourite image? And why? I am not precious about the final outcome. This was a very personal project, reflecting my state of mind, as well as the phase I was going through. The process and conversation I developed with the subjects was the interesting part.

What camera and lens did you use? Canon 60D Lens 24-70mm (sometimes 50mm).

What are your future plans for self-development? I am currently the in-house photographer and a booker for Ciel Model Management. In February I will be traveling to Cuba to shoot a series and explore the topic of women and femininity. The female realm has always been harder for me to connect with, thus I wish to challenge myself. I am now in the process of applying for grants and artist residencies abroad, quite keen on developing documentary stories and venturing into photojournalism. I would like to carry one doing social work, bringing the notion of art and photography to troubled youth and prisons, working with individuals eager to tell their stories, as well as their versions and views on this concept we all share and call society.